I was relating to a friend of mine a visit to an acquaintance’s house. My friend has a wry wit and a high sense of irony and amusement. My little social expedition was inconsequential except for the inventory of decor that I took in while others were engaged in polite small talk. The house, once called ranch-style, had been to the best of its ability, turned into the ubiquitous, generic, expensive, uber-suburb home that is prevalent in my neck of the woods. The property was indisputably the best asset – beautiful, untouched and adjacent to a horse farm – how could you go wrong? If it were up to me, and of course it isn’t, I would declare this a tear-down, and build something in its place that folds gently into the landscape, has at least a modicum of originality and doesn’t have a size complex. Or, let ranch be ranch.
The interior was expensively appointed but something was off. The window treatments, a term I dislike, were baroque. The furniture and do-dads were – I need Oscar Wilde for this; critiquing interior design is not my area – too coordinated as well as nonsensical. I hold to the axiom that it’s all in the mix, but that’s not what was happening here. While I was sitting at the silver-brushed wood dining table(!), I remembered a line from a movie I had just watched: Addams Family Values: “These are beautiful things! They’re from catalogs!”
This line is delivered by Debbie, played to perfection by the amazing Joan Cusack. Debbie is the grasping, kitschy, sugary, black-widow murderess who marries Uncle Fester. My friend had not seen the movie, so the conversation moved from the house of too many curtains, to telling him about the movie: mostly about the character of Debbie. I suggested that we’ve all known a Debbie, and he quizzically gave this some thought. He said that he had worked with a women who would wear at least three designer logos in evidence on her person at all times. “And, the funny thing is,” said my friend, “I’m pretty sure her name was Debbie.”
In the movie, Debbie and the other characters have enviable lines. The writing is razor-sharp. The overarching sensibility from director Barry Sonnenfeld, who has a cameo as one of the parents at Camp Chippewa’s Thanksgiving recital, is in evidence here as it is in the Men in Black franchise, Get Shorty, RV, et al. Sonnenfeld is particularly unforgiving towards suburbia. There’s a scene where Raul Julia, as Gomez Addams, delivers a horrified reaction to just that.
In the end, Debbie has her comeuppance, but not before she has a great monologue on the origins of her psychotic self. Ballerina Barbie NOT Malibu Barbie!
There was no Debbie at the house of curtains, instead our rail thin nervous hostess was wearing a Harvard University sweatshirt and informing us on the challenges of raising a German Shepard puppy. Her four children didn’t factor into the conversation. That confused me further, why does a grown woman wear a school sweatshirt? And, you need to go to Harvard for this?
I know I’m being unkind. It’s all in fun, isn’t it? I would imagine that my invitations will dwindle and my social calendar diminish – who would want me over silently collecting material at their expense? Ironically, I was supposed to go to a Buddhist prayer/chant/discussion group this morning, and instead I have penned this. For real.
So I will close, repent, and petition for forgiveness. And, I will try to be nice.